• Proceedings of the Plant Resources Society of Korea Conference
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• 2018.10a
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• pp.79-79
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• 2018

용과(Hylocereus undatus)는 멕시코 및 과태말라가 원산지이며 아열대 및 열대지역에서 재배되고 있으며 아시아는 베트남 타이완 중국 일본 등 국가에서 재배하고 있다. 가지에 열매가 있는 모습이 용이 여의주를 물고 있는 형과 닮았다하여 붙여진 이름이다. 지구온난화로 인한 기온상승으로 전남지역 재배에 적합한 대체 열대 및 아열대과수 개발이 필요하다. 용과는 열대과수 중 비교적 낮은 온도($10^{\circ}C$이상) 조건에서 재배 가능하여 남부지역에서 시설내 가온재배하고 있다. 국내 시설재배 중 문제점은 용과는 밤에 꽃을 피기 때문에 밤에 활동하는 매개곤충이 없어서 인공수분으로 수분문제를 해결해야한다. 인공수분의 한계시간과 수분할 경우 과실비대에 미치는 영향을 알아보고자 인공수분 시간을 개화 1시간 이내, 4~5시, 11~12시 및 무 처리(방임)로 처리하였다. 개화시기는 1차 7월 13일, 2차 8월 8일, 3차 8월 26일로 3회에 걸쳐 개화가 이루어졌으며 이시기의 화분량는 4~5시가 0.68g, 11~12시 0.47g로 1시간 이내 0.16g보다 많았고 과실비대에서 1과중은 개화11~12시가 421g, 4~5시 400g, 1시간 이내가 377g으로 처리 간에 차이는 없었지만 무처리는 185g으로 처리구와 192~236g의 유의차가 있었다. 용과의 인공수분한계시간은 다음날 아침 7시(개화 11~12시)까지 인공수분 할 경우 정상적인 착과가 이루어졌으며 과실비대를 위해서 인공수분은 필수적으로 실시해야 한다.

• The Southeast Asian review
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• v.23 no.3
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• pp.1-48
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• 2013

Taking the cases of Korean garment factories in Binh Duong area, this study aims to explain the phases and causes of the wildcat strikes that have rapidly expanded recently in Vietnam. For the purpose, this study raises several questions as follows. Why the strikes sometimes increase and decrease other times? Why the factory workers prefer a wildcat strike even though it is politically risky, unproductive, and complicated? By the same token, why the foreign management cannot or will not preemptively preclude the wildcat strikes that are usually predictable and the workers are mostly able to accomplish their demands? While answering these questions, this study explores the economic, political, and socio-cultural conditions of the wildcat strikes respectively. Based on the fieldwork in around 30 Korean owned garment factories and the interview with around 100 Vietnamese factory workers in Binh Duong, this study confirms several findings on the phases and causes of the strikes in the area in specific and in Vietnam in general. First, the annual trends of the wildcat strikes reflect the macroeconomic conditions in which the consumer prices and the labor market in Vietnamese economy and business conditions in the world economy are pivotal. Second, however, the influence of macroeconomic conditions on both the management and the workers in the garment factories are differential, depending on the financial situations of the multinational corporations and the workers' capability of reproducing their household economies. Thirdly, the possibility of the wildcat strike in each factory is relatively independent on the financial conditions of a factory and rather associated with the stable political structure and active political processes within the factory that enable the management and the workers to efficiently communicate each other. Lastly, the necessity of establishing political stability in a factory arises from the distinctive social and cultural characteristics of the multinational corporation in which foreign managers and native workers inevitably live in separate and different socio-cultural worlds.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.204-221
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• 2020

East Asian countries share a culture of perfuming clothes. The prosperity of the Maritime Silk Road and the incense trade are direct factors that have led to the development of incense culture. Perfuming clothes is a method of applying fragrance by burning incense. The Chinese could make an incense mixture with various types of incense, and records demonstrating use of perfuming clothes tools (熏籠) show that they might have perfumed clothes with incense mixtures. During the Tang dynasty, the incense trade thrived. Examples of ancient literature such as 『千金要方』, 『香譜』, 『香乘』 describe how to make incense for perfuming clothes and how to perfume clothes. 『桂海虞衡志』 and 『諸蕃志』 shows trade partners and goods. Incense was introduced to Korea alongside Buddhist culture. 『買新羅物解』 shows Silla traded incense with Japan. One of the trade goods recorded in 『買新羅物解』 is perfuming cloth incense (熏衣香), which establishes that Silla performed perfuming clothes at that time. During the Goryeo dynasty, Goryeo exported musk as well as ginseng. The royal family burned incense from the Song royal family. Noblewomen preferred sachets. The use of this dress continued into the Joseon dynasty. 『買新羅物解』 showed that Japan imported incense from Silla. 『The tale of Genji』 illustrates Heian nobles' incense culture, perfuming clothes culture, and trade of incense. Perfuming clothes tools became essential articles for marriage purposes and it developed in a practical shape. The Champa had a perfuming clothes culture. It is described on 『諸蕃志』. As Agilawood is found in Tongking, and Tongking was neighbor to the Champa and China, they might have had a perfuming clothes culture as well. Korea, China, Japan, and Vietnam shared a perfuming clothes culture. We can identify universality and commonality in the purpose of perfuming clothes, time of development, the method of making the incense mixture for perfuming clothes, the method of perfuming clothes, the tools, the gender of perfumer, and the type of herbs and spices.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.10-29
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• 2021

This paper is an introductory study of the wooden Buddha images excavated in the Mekong Delta in present-day southern Vietnam. Approximately thirty examples of wooden Buddha images have been recovered in the Mekong Delta. As they were found among the major historic sites of Funan (the first kingdom in Southeast Asia), including Oc Eo, and likely date to the sixth century, they can be regarded as the works of Funan. Similarly to stone Buddha images, these wooden examples are considered important for their demonstration of aspects of early Buddhist sculpture in Southeast Asia. Most of these Funan wooden Buddha images are presumed to have been produced around the sixth century based on radiocarbon dating and their stylistic characteristics. This paper analyzed the iconography and style of eight examples whose forms are relatively recognizable. The eight images can be divided into four types according to their postures, dress styles, and hand gestures. They all share features of the Sarnath style of the Gupta period in India as seen in their slender bodies and the outer robe that clings to the body. However, some display a South Indian style of Buddha images in their upright posture, style of wearing a monastic robe with the right shoulder exposed, and making the vitarka mudra (preaching gesture) that is often seen in Sri Lankan Buddha images. This suggests that Buddhist sculptors in Funan devised a new style by incorporating the principal styles of Indian Buddhist sculpture. Another notable feature of these Funan images is their material, namely, wood. While none of the contemporaneous Hindu sculptures discovered from the same historic sites are made of wood, numerous Buddhist sculptures are. This paper postulates that the use of wood in Buddhist sculptures was promoted for reasons beyond ease of carving. According to the Buddhist literature, the first-ever Buddha image was the so-called 'Udayana image' made out of sandalwood. This image and its story was well-known in the Southern Dynasty of China around the sixth century. Interestingly, some auspicious sandalwood images of the Buddha was believed to have been brought into the Southern Dynasty from Funan. This suggests the possibility that the legend of the Udayana image might have been known in Funan as well and resulted in the production of wooden sculptures there.